There is lots of negativity on the Internet. Everywhere you go, you will find people who love to tell you how much things suck. Well, I don't want to do that here. I want to stay positive and highlight the positive elements of things, especially games. There are lots of games out there, and I like some of them more than others, but it seems kind of silly to focus attention on the bad stuff. Especially where the "bad stuff" is very subjective anyway.
Plus, it is important to keep in mind that all of these games are made by incredibly small groups of people who are deeply personally invested in what they are doing. If you read some of the stuff on the internet, you will get the sense that these game companies are faceless gigantic bureaucracies, like Apple or Google or something, But that's just not true. As a small example, probably the biggest pure tabletop RPG company around is Paizo, the makers of Pathfinder. I wandered into their booth during Gencon, and I ran into a guy who went out of his way to help me out by going into the back to look for a product that was not out on display. The guy who was helping me was James Sutter, who is the co-creator of Pathfinder (thank you, James, by the way). Even "big" game companies are tiny operations where the people do what they do because they love it. I suppose that there is an argument to be made that this shouldn't matter, but it matters to me, and I think all of these folks deserve being crapped less on as a general principle.
So, the rule for this blog will be to talk about why games are great. I may go so far as "hey, this part is a little tricky, so make sure you do X," but that is as negative as I want to go. The rest will be exactly what it says on the tin--the things about a game that makes it awesome.
So, here is my list of games I want to cover in this series, and I will probably think of others:
1. Cypher System/The Strange by Monte Cook Games
4. The "Powered by Apocalypse" games, stemming from Apocalypse World by D. Vincent Baker
3. 13th Age by Fire Opal Media, published by Pelgrane Press
4. Torg, formerly by West End Games, soon to be republished by Ulisses Spiele
5. Dungeons & Dragons, 5th Edition by Wizards of the Coast
6. Pathfinder by Paizo
7. Call of Cthulhu by Chaosium; Trail of Cthulhu by Pelgrane Press
8. Shadowrun by Catalyst Game Labs
In particular, I want to start off this series with the Cypher System, and my favorite Cypher System game The Strange, because I feel a little bad about the last post. I stand by everything I said from a content perspective, but the overall tone feels like I am taking a dump on them, and that was not my intent. Also, all of my interactions with the MCG people have been incredibly positive, and, again, that matters to me. So, in the interests of karmic balance, I figured I would start with them.
First, the rules. Cypher System does a couple of things better than any tabletop RPG I have ever encountered. To start with, I have found it to be the easiest system to teach to new players, especially if those people have no previous RPG experience. The core mechanic is incredibly simple and elegant--tasks are given a difficulty from 1 to 10, players can employ various means to reduce the difficulty in whole number increments, and then the final difficulty is multiplied by three to produce a target number to roll at or above on a 20 sided die. Because the difficulty level moves up and down in whole number increments, the mathematical calculation involved in figuring out whether you succeed or fail is incredibly simple and intuitive, even for brand new players. You get bonus results for a very high roll and problems from a roll of a "1," but that's essentially the totality of the system from a mechanical perspective. The suite of situational modifiers that often bog down other RPGs are basically absent--they are either incorporated into the base difficulty number, or handled by simple up or down bumps in the target number.
Likewise, the basic Cypher System scheme of expressing a character in terms of a sentence, i.e. "I am a [adjective] [noun] who [verb or verb phrase]," is a perfect on-ramp for brand new players.
One of the biggest challenges I have found for new players in making characters (in any system) is option paralysis--the moment they are confronted by a laundry list of different choices presented in "game speak" that they can't really evaluate, the process seems overwhelming. New players feel like they have to master all of this obscure technical vocabulary before they can make intelligent choices about their character. Cypher System cuts through that problem by pitching two of the three elements (the "adjective" or descriptor and the "verb" or focus) of the descriptive sentence in natural language terms. A new player can easily decide whether they want their character to be a "clever" versus "tough" versus "stealthy" without having to engage with the mechanical elements of that choice at all. Even the game-speak part of the sentence (the "noun" or type) can be explained in simple, easily digested terms (in The Strange, your three options are physically-oriented, socially-oriented, and mental/weirdness-oriented). Rather than having to come up with a fully-formed concept and translate that into game terms, or wade through a sea of options, new players can build a character in stages in an informed way without having to dive deeply into the rules elements right up front.
The other thing that the Cypher System rules do that is great is that they reduce the task load on the GM while allowing the GM to remain the primary story-teller. In a standard tabletop RPG, the GM wears at least three hats--he or she is the preparing and presenting the interactive story, he or she is running the opposition for the players, and he or she is adjudicating the rules and the overall game experience. Taking on those three tasks and switching between them on the fly is a big ask, and is often a real barrier to entry for new or aspiring GMs.
One of the solutions out there to this problem, coming from many "indie" or indie-influenced games, is to off-load some of the job of controlling the narrative by giving partial narrative control over to the players. To take a small example, in a game like 13th Age, the icon relationships and One Unique Things allow the player to create setting details, which means the GM doesn't have to do that ahead of time. That can work very well (I love 13th Age, as seen by my list above). But, for many GMs the narrative part is the part of GMing that they like the best, so reducing the narrative part is like taking away desert and leaving behind all of the vegetables.
Cypher System goes in the opposite direction, and tries to reduce the other two tasks The only rules-based task the GM has to do is to set difficulty levels for player tasks (which most systems require the GM to do). Once the difficulty is set, all the rest of the rules engagement is in the hands of the players--they roll all of the dice, and they are able to interpret their own results. The job of "running the bad guys" is reduced to basically nothing, particularly because monster stats can be as minimal as a single level which reflects the difficult number for accomplishing any task related to the monster. You can create a more "complicated" monster by separating out different levels for different tasks (so, a bad guy can be a level 5 when it shoots its eye lasers, but level 4 for everything else), but even with that Cypher System enemies are orders of magnitude less mechanically complex than other RPG systems. Because the game rules-load on the GM is so minimal, Cypher System is the easiest system I have found to improvise and GM on the fly. You can create fully functional combat encounters just by picking a difficulty number for the bad guys, and you are off and running.
So, that's why the Cypher System rules are great. Here's why The Strange is a very cool setting. The basic premise is we have recently discovered a "dark energy" network called the Strange, which connects the Earth to a series of "recursions," which are self-contained alternate realities. Certain folks (i.e. the player characters and key bad guys) can travel from recursion to recursion, and when you move to a new recursion you are (usually) transformed to match that reality. So, if you move from Earth to Ardeyn (a fantasy-esque recursion), you might grow angel wings or get a gigantic sword to match the new world you are now inhabiting. Game mechanically, the players can swap out their focus (the "verb" in the sentence) as they switch recursions. So, someone on Earth who is a "Clever Vector who is Licensed to Carry" might become a "Clever Vector who Speaks with the Dead" when he or she moves to Ardeyn.
The other angle with these recursions is that they can be created by the fiction of a prime world like Earth. As a result, in theory every fictional world should exist as a recursion that can be incorporated into the game, and the GM material openly encourages groups to steal (or, perhaps, "borrow") other properties. One of the recursions in the expansion book is transparently Star Wars with the serial numbers filed off; another one is Sherlock Holmes without any serial-number filing (since that IP is no longer copyrighted).
Genre mash-up is nothing new for RPGs, as we will see from my up coming hosanna to Torg (which was published in 1990). But The Strange does the mash-up in a particularly elegant manner. What I particularly like is the way it allows the GM and players to control the amount and nature of the recursions that are present in the game. You could run a very Earth-focused, X Files flavored game that was all about keeping the weird stuff away from Earth; you could also have a full-on gonzo game who you hop from genre to genre four times per game session. If you like the idea of taking a side trip to Endor, then you can do that, but if you think that sounds kind of lame, then your lack of Star Wars content doesn't mess up the rest of the setting. I also like the balance between the unique purpose-built recursions and the "taken from other IPs" recursions. There are enough tools in the basic game to work with and give people a starting point, without burying them in complex lore or setting details.
Likewise, the default organization for the players to belong to, "the Estate," has just the right amount of development to be useful without being confining. It's a pretty standard investigative/quasi-government secret conspiracy organization, which can be drifted in any number of directions. One of the clever dimensions to the Estate is that in the fiction it is a new organization, so it is both pretty plastic and avoids the "infallible secret organization" problem that many similar entities run into ("if these guys know everything about the Big Bad, why do they need to send schlubs like us to investigate stuff?") And if you don't like the Estate, you are also provided with a half dozen alternatives, from straight-up government agencies to research bodies to alien factions.
Cypher System and The Strange are not revolutionary, and they do not bring anything that you absolutely can't get somewhere else. But they are each in their own way extremely well crafted implementations of the basic idea. They are accessible places for people to get into tabletop RPGs and genre-spanning settings, and they bring enough interesting angles to get and keep experienced players engaged. They are both pretty great.